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St. Louis' public museum lives by its credo, "Dedicated to art and free to all" with free admission to special exhibits, live music, tours and activities courtesy of Ford Motor Company on Fridays.
This is the museum's collection of Asian art, including art from China, Korea, Japan and South Asia.
In 1900 Edward Curtis was in his early thirties and already a highly respected and successful photographer when he forsook the easy road and set ou...
As work on the new wing of the Saint Louis Art Museum in Forest Park (314-721-0072 or www.slam.org) nears completion, art that's long been in stora...
apanese-born artist Hiraki Sawa's 2003 video installation Migration is set in Lilliputian scale, and is simply delightful. Seven minutes of itty bi...
The Saint Louis Art Museum hosts its annual show and sale of contemporary jewelry from around the world.
The lives of humans and other earthly animals are small and ephemeral in London-based Japanese artist Hiraki Sawa's brief black-and-white video "Migration." Using Eadweard Muybridge's 19th-century photographic studies of locomotion, Sawa... More »
Gut Check heard through the grapevine a few weeks ago that chef Edward Farrow, most recently of Phoenix, Arizona, would be moving to town this summer to oversee the new restaurant and cafe at the Sain... More »
The latest installment of SLAM's New Media Series, this rapid-fire 2009 video by Los Angeles-based artist William E. Jones stitches together still black-and-white photographs rejected from the Depression-era Farm Security Administration... More »
From 1935 to 1943, Farm Security Administration director Roy E. Stryker sent photographers out across the United States to document the Great Depression. Stryker ruled the program with an iron fist, delivering a knockout punch to tens of... More »
James Nares: Street In this hourlong video, New York-based painter and filmmaker James Nares transforms the quotidian into an exotic diorama. Using a complex technology that allows him to slow action to a near standstill, Nares mines everyday NYC... More »
To walk through Fiery Pool: The Maya and the Mythic Sea was to be transported completely. During its springtime engagement at the Saint Louis Art Museum, this exhibit whisked visitors centuries back in time to the world of the ancient Maya. Water, to this civilization, was at once a sustaining life force and an object of great spiritual reverence. To respect the seas was to respect the gods -- and to remain connected to departed ancestors. Brilliantly curated, Fiery Pool included more... More »
It's not a secret, per se, but it's not widely known, either. The Saint Louis Art Museum holds a collection of more than 14,000 printed images on its fourth floor -- and you're welcome to examine them all. At your own table. With the artworks right in front of you. And a staff ready to help you find related works, or answer questions about what you're seeing. And there's no cost. The Saint Louis Art Museum Print Study Room exists to give art lovers the opportunity to view more than six... More »
We're living in a windows-within-windows world. Our TV screens display two channels simultaneously, with both channels running graphics crawlers across bottom and top; our computers run simulated game worlds in one window and a live news feed in another; our cars have DVD players for front- and back-seat viewers; and all around us, the same old world spins by. This phenomenon of having images from across the world transmitted to our consciousness, no matter where we are, is so common as to... More »
The Saint Louis Art Museum has some good friends. Whereas most of us might borrow a pair of shoes or a CD every now and then, this year SLAM borrowed a trio of canvases from a local private collector. Three paintings from Claude Monet's famed water-lily series--Water Lilies (1916), Wisteria Number 1 and Wisteria Number 2 (both 1920)--were loaned by an anonymous collector to complement the museum's own water-lily canvas (c. 1916-1920) in a one-room exhibition, Monet in the 20th... More »
Say you're a well-established art museum in a large-ish Midwestern town. You're not particularly known for showing experimental art in the newer media, but you'd like to be. You have no galleries to spare, but you do have some funky extra space at the top of a stairwell. What do you do? If you're the Saint Louis Art Museum, and you're smart enough to have hired Robin Clark as associate curator of contemporary art, you take that funky space, call it Gallery 301 and use it to house a New Media... More »
Any time the Saint Louis Art Museum wants to bring in more German art, that's fine with us. We trust their judgment to pick the great from the good, and whether it's Gerhard Richter's devastatingly beautiful paintings (Kerze all the way rocks) or Max Ernst's stark, scratchy work, we think it's all pretty great. But the fact that the staff of the SLAM went to the trouble of transporting Anselm Kiefer's massive, multi-ton broken-glass-and-metal sculpture The Breaking of the Vessels from the... More »
It's hard to think of a museum as keyed into its city's history as the Saint Louis Art Museum. Built in 1904 for the World's Fair, the edifice perfectly reflects the Beaux Arts taste that dominated the turn of the century. But what makes the Saint Louis Art Museum our best museum this year? A combination of things: the inauguration of the expansion project; the realization of several of director Brent Benjamin's goals for the galleries; the museum's participation in the Contemporary Art... More »
This is a surprise selection -- even to us. St. Louis Art Museum director Brent Benjamin drives media types crazy. Handsome, charming, eminently knowledgeable -- you walk out of an interview with Benjamin and figure you've got really good stuff. But, back in your office, you read your notes over and realize he didn't reveal a thing. Nobody keeps SLAM business as close to his vest as well as Benjamin. He's not one to awaken the city with bold pronouncements or declarations of a new vision for... More »
A good criteria for "best" is "that which is most remembered." The images created by photographer Abelardo Morell, which appeared at SLAM last spring, stay with the viewer. Gorgeously rendered black-and-white prints of otherwise undramatic objects -- maps, dictionaries -- have a quality most art lacks in this age of impermanence: the resiliency to maintain the integrity of the image through memory and time. Sure, a few months does not mean "lasting work," but Morell's perspective is unique,... More »
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